Maxim Karpets
Карпец Максим Иванович (р.07.11.1972)
• composer,
• Ph.D., associate professor,
• senior research scientist at the Russian Institute for the History of Arts of the Ministry of Culture of the Russian Federation
• member of the St. Petersburg Union of Scientists,
• Corresponding Member of the International Academy of Informatization (UN),
• member of the Bureau of the Educational and Methodological Center for the Development of Education in the Sphere of Culture and Art of the Committee on Culture of the Government of St. Petersburg
• member of the Russian Authors' Society (RAO).
The scientific activity of Maxim Karpets is connected with the study of the phenomenon of electronic audio technologies as an instrumentarium for artistic creativity. In his dissertation «Electronic audio technologies in the composer's avant-garde of the 50s of the XX century», for the first time in Russian musicology, the author attempts to create a scientific foundation for the study of electronic audio technologies as an instrumentarium for the composer's creative activity. Author of numerous scientific articles, monographs: «The Organum of New Poetics», a member of the editorial board of a number of scientific periodical and non-periodical publications, including: «Comparative Art Studies», «Issues of Organological Science», «In the Space of Music», «The Art of Sound and Light», «Spiritual Values of Athos and the Russian North», «Unity and Diversity of the Slavic World: Science, Culture, Art», «IV St. Petersburg International Cultural Forum», «Music and Computer Technologies in Education», Chairman of the Organizing Committee of the Annual International Scientific and Practical Conference «Sound Landscapes», organizer and participant of seminars and round tables, held by the Ministry of Culture of the Russian Federation in conjunction with the Russian Institute for the History of Arts. In May 2021, by a board of Moscow musicians, he was elected an honorary member of the jury of the international competition for young organ music composers «New Classics - Organ Taurida».
As a composer, he works primarily in the field of theater and television music. Author of original music for drama performances on the stages of St. Petersburg, Samara, Novosibirsk, Krasnodar, Hamburg, motion pictures, documentaries, and TV serials, as well as more than a dozen TV programs and shows on TV channels in St. Petersburg and Moscow, including the TV channel «Culture», «5th channel» and others.
As an arranger, he collaborated and continues to collaborate with many St. Petersburg and Russian composers, musicians, performers, including Andrei Petrov, Vladislav Uspensky, Olga Fadeeva, Sergei Rogozhin, Zara, Elena Vorobey, Alexander Sladkovsky, Alena Bikkulova, and others.
Phone: +79052120287
Address: Polytechnicheskaya st.17/3, apt#42
• composer,
• Ph.D., associate professor,
• senior research scientist at the Russian Institute for the History of Arts of the Ministry of Culture of the Russian Federation
• member of the St. Petersburg Union of Scientists,
• Corresponding Member of the International Academy of Informatization (UN),
• member of the Bureau of the Educational and Methodological Center for the Development of Education in the Sphere of Culture and Art of the Committee on Culture of the Government of St. Petersburg
• member of the Russian Authors' Society (RAO).
The scientific activity of Maxim Karpets is connected with the study of the phenomenon of electronic audio technologies as an instrumentarium for artistic creativity. In his dissertation «Electronic audio technologies in the composer's avant-garde of the 50s of the XX century», for the first time in Russian musicology, the author attempts to create a scientific foundation for the study of electronic audio technologies as an instrumentarium for the composer's creative activity. Author of numerous scientific articles, monographs: «The Organum of New Poetics», a member of the editorial board of a number of scientific periodical and non-periodical publications, including: «Comparative Art Studies», «Issues of Organological Science», «In the Space of Music», «The Art of Sound and Light», «Spiritual Values of Athos and the Russian North», «Unity and Diversity of the Slavic World: Science, Culture, Art», «IV St. Petersburg International Cultural Forum», «Music and Computer Technologies in Education», Chairman of the Organizing Committee of the Annual International Scientific and Practical Conference «Sound Landscapes», organizer and participant of seminars and round tables, held by the Ministry of Culture of the Russian Federation in conjunction with the Russian Institute for the History of Arts. In May 2021, by a board of Moscow musicians, he was elected an honorary member of the jury of the international competition for young organ music composers «New Classics - Organ Taurida».
As a composer, he works primarily in the field of theater and television music. Author of original music for drama performances on the stages of St. Petersburg, Samara, Novosibirsk, Krasnodar, Hamburg, motion pictures, documentaries, and TV serials, as well as more than a dozen TV programs and shows on TV channels in St. Petersburg and Moscow, including the TV channel «Culture», «5th channel» and others.
As an arranger, he collaborated and continues to collaborate with many St. Petersburg and Russian composers, musicians, performers, including Andrei Petrov, Vladislav Uspensky, Olga Fadeeva, Sergei Rogozhin, Zara, Elena Vorobey, Alexander Sladkovsky, Alena Bikkulova, and others.
Phone: +79052120287
Address: Polytechnicheskaya st.17/3, apt#42
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2024 by Maxim Karpets
2023 by Maxim Karpets
2022 by Maxim Karpets
The complexity of implementing and solving various aspects of the axiology' issues in artistic creativity is colossally aggravated by the problem of interpretation, given the fact that any interpretation is only a part of the semantic context that tends to be supplemented with new facets and meanings in time. The interpretation for the text of an artistic act can be updated by at least four components, among which, among other things: the author's intention, its interpretation by the performer, the processes of perception by the audience, the listener, and the scientific apparatus of the researcher-musicologist.
The multilevelness and semantic ambiguity for both the artistic act itself and the creative result in the art of music are not only variable and subjective, but absolutely untranslatable into the language of verbal symbols and concepts, which determines the immanence of the forms of intramusical dialogue between the author and the music researcher. At the same time, the field of musical science, whose immediate goal is the analytical study of musical structures, namely, the theory of music, we have to admit, does not cope with this task.
2021 by Maxim Karpets
2020 by Maxim Karpets
2018 by Maxim Karpets
2017 by Maxim Karpets
The article discusses the process of gradual modulation in reception of the timbral models. Consideration shall be those inherent semantic properties of the timbre that developed in the course of the evolution of art tools in a palette of musical culture, its logos, its forms and implementations. Untill the nowadays, when the unprecedented status of the phonographic aesthetics of contemporary artistic reality determined by the global expansion of the artistic palette due to integration of synthesized, morphing sounds, sounds of natural and artificial origin into the phonography, which are constitute a thesaurus of contemporary musical and audiovisual compositions.
Consideration of the questions raised here are based on the prevailing so far in the academic practice of contemporary art paradigm, allowing to formulate upon their foundation a number of conclusions about aspects of the interaction of the artist with timbral patterns, not affected before, either formulated by the by, in the interdisciplinary nature of the research and do not having their main vector - the musical art.
MISC by Maxim Karpets
The rooster figure itself, being a global modulator of the general paradigm of the ART-CULINARIA transgression, appears at the fourth stage of modulation of the entire system, which consists of five levels (stages). Namely as follows: The first, the initial level - ART. Art - the initial stage of the cycle of transgression, the level of objective reality of artistic space. It is characterized by: the orderliness of the system, the immanence of the means and mechanisms of functioning, the idea of the unpreconditionable givenness of the artistic creativity phenomenon. The second level is ARTISTRIOLOGY [Impact factor of the sciences of art history and threory]. Artistriology is the first transitional level, the initial stage of modulation. It is characterized by: a gradual departure from the postulate of the unpreconditionable givenness of the artistic creativity phenomenon, the need to "legalize" artistic acts through their interpretation, the emergence of the phenomenon of interdisciplinarity. The third level is POSTARTISTRIOLOGY. Postartistriology is an intermediate transitional level, the stage of the virtual aesthetic revolution. It is characterized by: transformation of the aesthetic algorithm itself, so called "objective reality", the shaping of the appearance of a new eschatological theory of artistic space. The fourth level is CULINAR ARTISTRIOLOGY. Culinar artistriology is the highest transitional level, the stage of a new type: a modified, augmented or mixed art reality: a continuum of "reality - virtuality". It is characterized by: global changes in the integrity of the system of values of artistic reality, a new linguosensual phenomenon is realized both in the composition of the artistic act and in the emerging gastronomic discourse, the ability of the latter to act as a semiotic subsystem of the entire transgression is realized. The highest level of the system is CULINARIA. Culinaria - the final stage of the cycle of transgression of the reality of art space, the level of virtual transcendence. Nowadays, the "art" itself has become too much, in this sense, it is the Global Rooster figure that embodies the intentions of this entire array of "art" that it began to try to express itself, screaming for itself. Every artistic gesture, every artistic and quasi-artistic action actively requires certification and recognition. Such aspects of the issue can be wholly interpolated in the sphere of the phenomenology of culinary art. Today, it's practically impossible for a every person to distinguish between a technically crafted design from high-quality contemporary art, as well as the commercials from a profound movie production, hooliganism from an artistic action, fast food from a quality home-cooked meal, etc. At the same time, probable the number of virtualization tendencies of the common cultural space, a kind of aestheticization of existence, are often only a mechanism for concealing the helplessness, meaningless quasi-artistic goals and quasi-culinary ideas, a way to disguise the absence of a genuine beginning by its virtual simulation.
The complexity of implementing and solving various aspects of the axiology' issues in artistic creativity is colossally aggravated by the problem of interpretation, given the fact that any interpretation is only a part of the semantic context that tends to be supplemented with new facets and meanings in time. The interpretation for the text of an artistic act can be updated by at least four components, among which, among other things: the author's intention, its interpretation by the performer, the processes of perception by the audience, the listener, and the scientific apparatus of the researcher-musicologist.
The multilevelness and semantic ambiguity for both the artistic act itself and the creative result in the art of music are not only variable and subjective, but absolutely untranslatable into the language of verbal symbols and concepts, which determines the immanence of the forms of intramusical dialogue between the author and the music researcher. At the same time, the field of musical science, whose immediate goal is the analytical study of musical structures, namely, the theory of music, we have to admit, does not cope with this task.
The article discusses the process of gradual modulation in reception of the timbral models. Consideration shall be those inherent semantic properties of the timbre that developed in the course of the evolution of art tools in a palette of musical culture, its logos, its forms and implementations. Untill the nowadays, when the unprecedented status of the phonographic aesthetics of contemporary artistic reality determined by the global expansion of the artistic palette due to integration of synthesized, morphing sounds, sounds of natural and artificial origin into the phonography, which are constitute a thesaurus of contemporary musical and audiovisual compositions.
Consideration of the questions raised here are based on the prevailing so far in the academic practice of contemporary art paradigm, allowing to formulate upon their foundation a number of conclusions about aspects of the interaction of the artist with timbral patterns, not affected before, either formulated by the by, in the interdisciplinary nature of the research and do not having their main vector - the musical art.
The rooster figure itself, being a global modulator of the general paradigm of the ART-CULINARIA transgression, appears at the fourth stage of modulation of the entire system, which consists of five levels (stages). Namely as follows: The first, the initial level - ART. Art - the initial stage of the cycle of transgression, the level of objective reality of artistic space. It is characterized by: the orderliness of the system, the immanence of the means and mechanisms of functioning, the idea of the unpreconditionable givenness of the artistic creativity phenomenon. The second level is ARTISTRIOLOGY [Impact factor of the sciences of art history and threory]. Artistriology is the first transitional level, the initial stage of modulation. It is characterized by: a gradual departure from the postulate of the unpreconditionable givenness of the artistic creativity phenomenon, the need to "legalize" artistic acts through their interpretation, the emergence of the phenomenon of interdisciplinarity. The third level is POSTARTISTRIOLOGY. Postartistriology is an intermediate transitional level, the stage of the virtual aesthetic revolution. It is characterized by: transformation of the aesthetic algorithm itself, so called "objective reality", the shaping of the appearance of a new eschatological theory of artistic space. The fourth level is CULINAR ARTISTRIOLOGY. Culinar artistriology is the highest transitional level, the stage of a new type: a modified, augmented or mixed art reality: a continuum of "reality - virtuality". It is characterized by: global changes in the integrity of the system of values of artistic reality, a new linguosensual phenomenon is realized both in the composition of the artistic act and in the emerging gastronomic discourse, the ability of the latter to act as a semiotic subsystem of the entire transgression is realized. The highest level of the system is CULINARIA. Culinaria - the final stage of the cycle of transgression of the reality of art space, the level of virtual transcendence. Nowadays, the "art" itself has become too much, in this sense, it is the Global Rooster figure that embodies the intentions of this entire array of "art" that it began to try to express itself, screaming for itself. Every artistic gesture, every artistic and quasi-artistic action actively requires certification and recognition. Such aspects of the issue can be wholly interpolated in the sphere of the phenomenology of culinary art. Today, it's practically impossible for a every person to distinguish between a technically crafted design from high-quality contemporary art, as well as the commercials from a profound movie production, hooliganism from an artistic action, fast food from a quality home-cooked meal, etc. At the same time, probable the number of virtualization tendencies of the common cultural space, a kind of aestheticization of existence, are often only a mechanism for concealing the helplessness, meaningless quasi-artistic goals and quasi-culinary ideas, a way to disguise the absence of a genuine beginning by its virtual simulation.